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I'm positively DYING over here. LOOK at that gorgeous old 200K. Trying desperately to control myself and keep my eye on the Carr-ball. This thing is totally not needed but.. but.. (lipquiver) just.. look at it.

Good thing I already have 1 of those ... minus that great figuring. The price over there at reverb (and the fact I'm not signed up) is keeping me away ... and the cream p/ups, and lack of headstock emblem some of those 80s Carvins had ... and the home improvements I'm planning this summer ... and the 2 dogs ...

I hear you. I prefer black hardware too, but that is a real beaut. I bet it pushes out that beautiful, warm yet bright, hog/ebony Les Paul Custom sound these axes (100/150/160/200) were famous for in the 1st half of the 80's during the set neck, 24.75" era of Mark's luthiery. Especially when they were solid koa and ebony rather than maple/ebony.

I just turn to the side, calm down, and console myself by glancing at the 200K's older brother.. still my fave DC shape from Mark, even mucked up w smudges and dings:

What's always amazing to me at an angle like that is how the chamfered edge on both sides of the slab makes it look like it's thinner than your basic LP Special or Junior, but it's not. A look at the neck at body-width at the bottom of the flare-out after the joint gives a clear picture of the thickness of the slab.

Yup, I actually think they weight added to it somehow. It is quite a brick.

Though likely more a function of the thru-neck maple w/walnut into that slab of walnut rather than just the walnut itself, the thing will ring forever. Sometimes if I listen really hard, it almost seems like it is still ringing over there from the last time I played it . . .

But, I could well have other mental quirks getting in the way of that reality too though . . . hearing things that is.

Oh my... Oh MYYY... good thing I'm not a pointy guy. He changed out the pups but that's easily rectified

I'm not a pointy guy anyhow, but that's bay-chin. THAT is the kind of koa that is usually grand slam material right there. They do not have much if any of this super old-tree koa laying around anymore. (It's on Verb)

Give me this stripey old old luminescent stuff over the flamey squishy bacon every time. This stuff is the tip top summit of Mount Tonewood. (and no less beautiful and much more chatoyant)

Doctor Turn wrote:Oh my... Oh MYYY... good thing I'm not a pointy guy. He changed out the pups but that's easily rectified

I'm not a pointy guy anyhow, but that's bay-chin. THAT is the kind of koa that is usually grand slam material right there. They do not have much if any of this super old-tree koa laying around anymore. (It's on Verb)

Give me this stripey old old luminescent stuff over the flamey squishy bacon every time. This stuff is the tip top summit of Mount Tonewood. (and no less beautiful and much more chatoyant)

I know... if I were going to buy a V220.. that would pretty much be the ultimate. Set neck, Gibson scale, koa rather than maple (which pushes it into the mahogany zone, only better, and in terms of koa, this super-old, super chatoyant, super stripey stuff has the best odds of delivering magic), which puts the guitar right where it should be tonally (at least if you're looking for a sound in the Explorer ballpark.. this will get you there and improve in every way.. sound-wise, build-quality-wise, looks-wise, everything wise).

Circling back to another convo about figuring and tonewood: THIS is an area, or kind of guitar, where I think wood figuring can absolutely make a difference: the entire body wood, especially with no top and the whole slab can ring free. There are all different cuts and ages of koa which usually result in all different kinds of sound mileage out of a guitar. This stuff I've found tends to give the best likelihood of getting you all the qualities that the best koa is famous for.

And this is the kind of guitar where I think dejablu's statement about the things Jeff said about quilt versus plain maple, creating increased midrange response of one versus the other... on a guitar like this where it's all made of that one wood, where you'll definitely experience those variations the most, from one to the other with all else being equal. There are plain maple versions of this guitar, flamed maple, quilted maple, etc tec. And within these figuring variations you'll get those difference in focus in sound.

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